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Oil, ghost towns and dust devils are aligned as tropes of climate change. Tornado-like dust devils, as canaries in the coal mine, are increasingly common in hot, barren deserts and in drought stricken areas of the world. I imagined spilling flower petals into the path of dust devil so that it would create a colorful vortex of swirling petals. I recently found a few dust devils during each of my 3 trips to the California desert, but they are fast, dissipate quickly and mostly too far off the road to catch…always just ahead of my car. When I was ready to give up looking after my third desert trip and was focusing my camera on abandoned school, a well-formed small dust devil appeared about 10 meters to my right. I turned my camera on a tripod towards it, snatched a bag of flower petals that I had bought at LA`s flower district and ran into the small vortex dumping the contents. It grabbed the petals and dumped them over a nearby road.

Brit Bunkley is a New Zealand based artist whose current art practice includes public art, sculpture, installation, and video. He designs his work using digital 3D modelling, video and image editing programs… emphasising majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. He is a recipient of a New York State Fellowship grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. He has completed more than a dozen temporary and permanent public art projects including the commission Hear My Train in Wanganui, New Zealand completed in 2012 and a public screening at the Oslo Central Station, Oslo Screen Festival in collaboration with Kunsthall Oslo, Oslo, Norway autumn 2013. Recent international group exhibitions and screenings include 2015 at the SESI` Cultural Centre Sao Paulo, Brazil, the Berlin International Director’s Lounge 2014 and the Moscow Museum of Modern Art. Bunkley’s most recent solo exhibition, The Happy Place opened at the Sanderson Contemporary Art, Auckland, NZ November 2014.

Up River Blues is a dreamlike series of vignettes featuring the region surrounding the Whanganui River Valley. The Whanganui River is New Zealand?s longest navigable river with rich historical significance. The abandoned Shangri-la commune of Ahu Ahu Ohu, on the Ahu ahu tributary of the Whanganui is the central feature of this video. In 1974 the NZ government found an ?Ohu Scheme? on public land to establish communes - ?intentional communities?. Most failed. This was one of the longest lasting "Ohus". A sense of apocalyptic foreboding was created through special effects including 3D animations of a stranded Russian submarine rusting on a steep inland hill and black helicopters flying over Ahu Ahu Ohu. (In fact, helicopters are a reality in this region in the government?s search for marijuana crops; the hills are indeed former sea beds.) In combining apocalyptic paranoia with irreverent whimsy the video ends with a tree disappearing into its shadow and a crop duster reversing into a cloud of dust.

Brit Bunkley, emigrated with his family in 1995 from New York City to take up a teaching position to New Zealand. Bunkley`s art practice during his 16 years in New York included building numerous commissions while also receiving several grants and fellowships including a National Endowment of the Arts Fellowship grant, New York State artist Fellowship, and the Rome Prize Fellowship. (see: www.britbunkley.com) Bunkley?s work has appeared in many solo and group shows internationally and is in many public and private collections in New Zealand and the USA. Exhibitions included St@rt up: New Interactive Media and Animation at the Museum of New Zealand Te Papa and SIGGRAPH 2003 , 2004 and 2006. In addition he showed artwork at Ciberart-Bilbao 2004 Festival and art show, Bilbao, Spain, Prog:ME the1st Festival of Electronic Media of Rio de Janeiro in Brazil; Rencontres Internationales Paris/Berlin/Caracas, 2005 in Paris and 2006 in Venezuela. Bunkley?s sculpture has been commissioned by the NY MTA, the Minnesota Percent for Art program, Connells? Bay, NZ and several other public and private agencies (His work is featured in the Along the Way: MTA Arts for Transit, Celebrating 20 Years of Public Art, by the Monacelli Press; 2006 and The Art of Placemaking: Interpreting Community Through Public Art and Urban Design, 2008, by Ronald Lee Fleming.) Recent shows include FILE RIO 2007 in Rio de Janeiro, Brazil and FILE - Electronic Language International Festival, in Sao Paolo: Brazil, March 2008; Urban Screens Melbourne 08; Federal Square, Melbourne, Australia; Eform; Beijing - Today Art Museum; Shanghai - Duolun Museum of Modern Art; Chongqing - Jinse Gallery; Migration, Völklingen, Germany; as well as solo shows at the NZ Film Archive Gallery ?A Slow Train a? Comin?? and at Mary Newton Gallery - both in Wellington, New Zealand. In 2008 he co-curated and participated in the show Terrible Beauties, at City Art Room in Auckland. File 10 Nurbs Proto 4KT, Sao Paolo. In 2010 he co-curated and participated in the exhibition Hybrids at Auckland?s MIC gallery; exhibited at the National Contemporary Art Award at the Waikato Museum of Art, NZ; Insideout, Sydney; A Light at the End of the Tunnel, Scope Basel, Basel; From the Earth to Space: Exobiology & Biodiversity, Cité des sciences et de l`Industrie, Paris; and he recently had a solo show at the Mary Newton Gallery in Wellington. He will exhibit video at the E4C: Electronic Gallery; Seattle.

The short video vignettes use both animated environments and real footage in an attempt to blur the line between augmented realities and actual settings in order to create an ominous atmosphere of transformation and exposure. It is my intention that the videos function by capturing imagined moving images in believable but slightly skewed settings that are both convincing and unsettling that creates a context that accentuates the sinister socio-political content of the quick (TV advertising length) punch-line animations The Vignettes of War and Business are a series of recent interrelated short 3D animations woven together that obliquely refer to the US ?permanent war economy? that has been transposed into the context of modern corporate New Zealand (which, as in most countries, is often at the mercy of the ?virtual parliament? of international investors and corporations). These vignettes reflect on paranoia, beauty and terror that is inherent in the modern world both here and in the USA. (8 min 56 sec) ?Fleece Blackout?: a short video animation of a 3D model sheep that stands (mostly) stationary and statue-like in a mountainous landscape while cruise missiles fly by and the woollen fleece on the sheep slowly turns into a photographic floral pattern. ?Masquerade?: a whimsical vignette of manufactured fear -?starring? a clown based on a 19th century cast iron bank, and a news commentator in a gas mask (waiting for the WMD?s during the invasion of Iraq.) ?4 Heads?: 4 heads with balaclava-like mapping of textiles wiggling their ears and noses. (with clips morphed from the original Invasion of the Body Snatchers) ?Red Cap?: Obliquely referring to the Citizen Cain inspired lost innocence. The Return of the Body Snatchers: The Return of the Body Snatchers is a 3d animation (obliquely influenced by the original Siegel movie The Invasion of the Body Snatchers) that takes into consideration the current global social-political climate of fear. ?Girl in the Canoe?, the sheep from ?Fleece Blackout? float down a river. It is followed by an inner tube and rubber duckie. A ?girl on a canoe? is reflected on the water. An old trite postcard of a girl in the Canoe in Wanganui, New Zealand fades (and blurs) out at the end of the clip. The soundtrack is by myself and the addition of three musical clips: by Alistair Galbraith and Constantine Karlis from the CD Radiant¸ ?In Prelight Isolate? by Set Fire To Flames, from the album ?Telegraphs in Negative?, and ?Translation? by Songs:Ohia.

Brit Bunkley Bio Brit Bunkley is the head of sculpture and a lecturer in digital media at the Quay School of the Arts, Wanganui UCOL in Wanganui, New Zealand. He immigrated to New Zealand from New York City with his family in 1995. They became NZ citizens in 1999. Bunkley`s previous 16 years in New York as a working sculptor and photographer included building numerous commissions while also receiving several grants and fellowships such as the National Endowment of the Arts Fellowship grant and the Rome Prize Fellowship. Since immigrating to New Zealand, Bunkley has had several solo shows in public and private galleries including a recent show at Te Tuhi - The Mark in Auckland in February - April 2002 and a show at the McPherson Gallery in Auckland, February 2003, the New Zealand Film Archive Pelorus Trust Mediagallery and Lopdell House 2005. Bunkley also has been included in numerous NZ group shows ranging from St@rt up : New Interactive Media and Animation at the Museum of New Zealand Te Papa to Intersculpt:2001 in Wellington and Intersculpt:2003 in Auckland (which he also curated) at the Adam Gallery in Wellington. He has recently shown digital video/sculpture installations at, the Mary Newton Gallery 2005. Overseas, Bunkley was chosen as one of the 6 ?working artists? at the SIGGRAPH:2002 digital art exhibit in San Antonio in 2002. He also recently co-chaired the Art Show of the ACM sponsored GRAPHITE: 2003 conference and art show; at the Span Gallery, Melbourne, Australia February 2003. In 2003, he exhibited digital sculpture and video at SIGGRAPH:2003 in San Diego, Expace[ex-space] project#002 video screening, Knitting Factory, NYC, Not Still Art Festival, The Micro Museum, New York City, the Transference, The Manipulation Of Vision in Sydney, Australia. He also participated in the traveling International RP Sculpture Exhibition that has been at 10 international venues including the Zoller Gallery at Penn State University, Yeditepe University, Istanbul, Turkey, Chicago Institute of Technology, Chicago, Ill. He screened digital animation videos at the Ciberart-Bilbao 2004 Festival and art show, Bilbao, Spain April 2004, the Thailand New Media Festival in Bangkok in March 2004 and more recently at the Rencontres Internationales Paris/Berlin, the First International Festival of Electronic Art 404 /Astas, Argentina. This year he showed a video animation at Prog:ME the1st Festival of Electronic Media of Rio de Janeiro in Brazil, File 2005, Sao Paolo Brazil and Not Still Art at the Micro Museum in NYC in September. This video work is an award winner at the Sarjeant Gallery in New Zealand for 2005. Bunkley co-curated and participate in ?Made Known?, a show of digital sculpture and video 3D animation, with Ian Gwilt at the University of Technology (UTS) Gallery, Sydney, Australia this September. Vignettet of war and Business recently won the top award at the Sarjeant Gallery annual award show. His work will tour New Zealand as part of the Wallace Trust in 2005-2006.

Ghost Zone is an homage to Tarkovsky`s “Stalker” (1979) takes us on a journey to the original expedition into the ineffable aqueous “Zone” - where wishes may be granted to one’s detriment. Bunkley stitches together his own footage in such a way that the landscape and buildings resemble a magic realist post-apocalyptic wasteland. Photographic composites of two rural locations has been made a lot easier with the use of drone captured imagery in that they will accommodate points of view not accessible form the ground. From this data he uses photogrammetry 3D scanning to create his eerie works as “œislands of memory┝ - akin to the islands that feature in the science fiction film Solaris (1972) by Andrei Tarkovsky. (Photogrammetry uses multiple photographs placed within software that creates 3d printable meshes.) By extracting these images, the buildings are divorced from their surrounds while the videos resemble chunks of architecture and landscape made from an indefinable material floating in black cyberspace.Ultimately they refer to eschatology - the “end of time”.

Brit Bunkley is a New Zealand based artist whose art practice includes the proposal and construction of large scale outdoor sculptures, discrete objects, installations as well as the creation of ”impossible” moving and still images and architecture designed using computer 3D modelling, video editing and image editing programs. His work explores an oblique sense of paranoid apocalyptic fear tempered with a sense of whimsy and irony. International screenings include the White Box gallery in NYC and Rencontres Internationales Paris/Berlin (2016, 2018, 2019), and at the Cité Internationale des Arts in 2018. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017 and 2018. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival, and he was again included in «Now&After» at Moscow’s Artplay Design Center February 2018. Recent solo exhibitions include Ghost Shelter 17 at Te Uru, Titirangi, Auckland, The Happy Place- Sanderson Contemporary Art, Auckland and the Sarjeant Gallery, Whanganui, New Zealand in 2018.

“The Peaceable Kingdom” is a deep fake ontology. It is a dreamscape of various domestic and wild animals inhabiting human architectural spaces metaphorically and physically as both totems and discrete intelligent beings. The title is taken from a series of paintings by the Quaker minister and painter, Edward Hicks.

Brit Bunkley is a New Zealand-based artist and videographer whose practice includes the construction of large-scale outdoor sculpture and installations as well as the creation of ‘impossible’ moving and still images and architecture designed using 3D modeling, video editing, and image editing programs. Bunkley, an NZ/USA citizen, has also been a recipient of a National Endowment for the Arts fellowship and the Rome Prize Fellowship in the USA. International screenings include the White Box gallery in NYC and the Rencontres Internationales Paris/Berlin. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017, 2018, and 2019. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne, and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018, Docfest Kassel 2019 and Jihlava IDFF 2021 and 2022, Czech Republic. And Video Art Miden and Video Art Projects, Municipal Gallery of Thessaloniki, Thessaloniki, Greece, FILE SP 2023 exhibition and Hochkantfilmfest, Portrait -video on advertising billboards, Bremen, Germany in 2023 Recent group exhibitions include the “Stories of Rust”, Tauranga Art Gallery, Tauranga, NZ, and “Green Around'' in Taipei, Taiwan in 2019, the Auckland Botanic Gardens 2022 and “Sculpture on the Gulf” 2022, Auckland, NZ, the “2021 National Contemporary Art Award”, Waikato Museum, Waikato, NZ and “Visions in the Nunnery”, Bows Art/Nunnery Gallery, London in 2022. Recent solo exhibitions include Solo exhibitions include the Sarjeant Gallery, Whanganui, New Zealand in 2018, the Institut für Alles Mögliche/Stützpunkt Teufelsberg, Berlin 2019, The Rabbit Room, Napier, NZ 2022, at Scott Lawrie Gallery, Auckland New Zealand 2022, and aGallery, Whanganui, NZ.

February 2004. An agent of the Bureau of Inverse Technology (BIT) transiting Los Angeles International Airport (LAX), is surrounded and immobilised by at least 16 police and airline security officials, for declining to remove her rollerblades. This refusal, seemingly trivial, precipitates the traveller across the fine line from Premiere customer to possible insane felon. The agent`s digital camera, stowed in her carry-on baggage, records the encounter. LAX captures the banality of a routine airport disaster that can be seen to exhibit a broader condition: the escalation of controls; the amendments to personal mobility; and the diffuse effects of over-policing airports in the wake of September 11. "YOU WORE YOUR ROLLERBLADES TODAY BUT YOU DECIDED YOU DIDN`T WANT TO CARRY YOUR CERTIFICATE THAT AUTHORISES YOU TO WEAR ROLLERBLADES"

Bureau of Inverse Technology (BIT) formed 1991 in Melbourne AU, incorporated Cayman Islands. The Bureau is an information agency servicing the Information Age.

"Gesichte" is an old fashioned german word, close to "Gesichter", which means "faces", but these faces are more of a vision, an image from a dream or a hallucination, it is about inner landscapes. The one who sees these phantoms is in a transcendent room, an undefined in-between. "Gesichte" also appears in the japanese Noh theatre plays, where real people meet ghosts, souls of the passed, that find no rest. The Visions Book - in Germany nearly a translation of "facebook" - is a collection of my obsession of this worlds in-between, merging worlds, overlapping worlds, overlapping like two green screen video images, not accurate enough to avoid the light greenish shimmer in the hair of the teenage model. The basis of this collection is the photographic still image, the frozen pose. The film is like a photobook in time, the "book" like part of it like a page of a facebook chronical, a pile of short clips, pix, texts, comments, in a boundless subjectivity.

Born in 1965, artist, filmmaker, he studied fine arts at University Of Fine Arts, Berlin 1993-98 and graduated at the class for experimental film and arts of Heinz Emigholz, 1999. From 2006 to 2011 he has been teaching film at Filmakademie Ludwigsburg. From 2007 to 2012 he held a professorship at University Of Fine Arts, Berlin in the "experimental film" class and works as a film music composer, script writer, editing consultant. His own films include WORDS FOR WINDOWS (1996, 15 min. WP Int Forum Des Jungen Films, Berlinale GER) HYPERBOOKS (1999, 38min, WP Int. Short Film Days Oberhausen GER) VIRTUAL VAMPIRE (1999; 92 min, WP Max Ophüls Prize,Saarbrucken, GER) SEVEN HEAVENS (2005, 92min,WP Torino Int. Film Festival, I) THE ELECTRIC PARADISE (2010,208min, WP Int. Forum Expanded, Berlinale; GER) ERSTER SCHNEE (2014, 27 min, in postproduction) and the project VISIONS BOOK (2012-2014) Michael Busch lives and works in Berlin.

A textscape of words, sentences, script, diary, sketch. Words before images. The film image here is a pure word image, vast, rushing by before meaning emerges, impossible to grab to read. Others are slow, readable, narrate stories about Schrödingers cat, about evaluation of speed of light, about the end of Finnegans Wake. ?Night Now? is the calling for a hyper present tense, a home coming, a self encounter, a self extinction. NIGHT NOW is part of the aleatory film project THE ELECTRIC PARADISE Premiered at the International Forum of Young Cinema at Berlianle 2010, recently shown at the 29th Art Bienal of Sao Paulo and the International Film Festival Sao Paulo.

Michael Busch born. 1965, artist, filmmaker, curator studied fine arts at University Of Fine Arts, Berlin 1993-98 graduated at the class for experimental film and arts of Heinz Emigholz, 1999 since 2007 teaching experimental film at University Of Fine Arts, Berlin (together with Heinz Emigholz) he is a founding member of the Media Theatre Group LUXUS BERLIN (1994-1998) works as a film music composer, script writer, editing consultant, recently for: Philip Gröning, ?Die Grosse Stille? (The Grand Silence, Venedig 2005) Frank Castorf, ?Der Idiot? (The idiot) after Dostojewski, 2006 His own films include A WAY ALONE A LAST (1994, 40min, WP Figueira Da Foz Int Film Festival POR) WORDS FOR WINDOWS (1996, 15min. WP Int Forum Des Jungen Films, Berlinale GER) HYPERBOOKS (1999, 38min, WP Int. Short Film Days Oberhausen GER) VIRTUAL VAMPIRE (1999; 24 min, WP Max Ophüls Prize,Saarbrucken, GER) SEVEN HEAVEN (2005, 92min, WP Torino Int. Film Festival, I) THE ELECTRIC PARADISE (2010, 208min. WP Berlin Int. Film Festival , Forum Expanded, GER)

The human being in the net, an image that is paradigmatic for the entire work: Laocoon, the warner in front of the Trojan horse, as a sculpture he is already constricted by the snake, the snake connects him with his sons, together they form an ensemble of powerlessness. The warner in front of the poisoned gift of the future repeats what Pandora’s box has brought over mankind. The future that points out from this present holds dangers and hopes in equal measure. In HOW LONG IS NOW the spider’s web appears in a variety of ways. It is the imperial railway network that spreads colonialism, it is the data cables that lie in the sea between the continents, it is the algorithms that dominate trade and stock exchange, it is the gps system, the face recognition software, the distorted maps of the world. The human being in it struggles with his mortality, struggles with language, the concepts that shape thought and action, struggles with morality and struggles with its expansion in the technosphere. The film makes shameless use of the image reservoir of the twentieth century, casually quoting the history of the moving image and the history of its progressive virtualization. The image plane sometimes nestles close to the spoken narrative of the lectures, then again it expands the space of discourse, adds associations and situations, and networks itself with the heritage of the expanded present. For four years I have been participating in these events and produced a series of short cinema trailers to promote them. The clips are 30 second long experimental films in a stream of consciousness manner. With the visual archive that was created along these productions and the possibility to use the HKW archive, the idea arose to develop a long, full-length work from it. I wanted to create a space of possibilities in which questions about our present can be articulated, beyond the quickly googled answer

studied applied theatre science at Universitiy Gießen and fine arts and experimental film at University of Fine Arts, Berlin. Makes films and film performances. Worked as a film curator for Volksbühne Berlin theatre between 2003 and 2017, held a professorship for experimental film at University of Art, Berlin from 2007 to 2013. his works have been shown at International Film Festivals like Berlinale Forum Expanded, at Centre Pompidou, Paris, at Reina Sophia, Madrid, at Art Biennale Sao Paulo, at Torino International Film Festival, San Francisco, Edinburgh.

Chromaphilia is an abnormal mania: an extreme obsession of colors. Color as drug leads at least to a transitional loss of consciousness. In desperate cases it provokes blindness or thoughtlessness - an end in delirium or dementia.

Sandra Bühler is a Filmmaker / Designer / New Media Artist. Born in Switzerland she made an apprenticeship in a Swiss Graphic Atelier and graduated 2006 as dipl. Graphic Designer. She moved to Berlin and studied "Visual Communication" and "New Media Art/Film/Video" at the University of the Arts Berlin (UdK). 2009 her studies continued with a scholarship from the Musashino Art University in Tokyo (MAU). Back in Berlin she made her diploma in «Design / Visual Communication» and in «Experimental Film / Art + Media» at the University of the Arts, Berlin. 2011 she received a scholarship for the Masterprogramm «Film/Video/Media art» at the California Institute of the Arts (Calarts). Currently she works for Partizan Berlin.

After long and painful research, a picture started to emerge. Going through vast amounts of archive material the artist stumbled upon more and more interview clips where there seemed to be a lack of clarity as to whom the person on camera was actually referring to. Yet they all spoke of Him. Sometimes the reports on Him seemed to reinforce each other and sometimes they seemed to contradict each other. Nevertheless, there was something in the tone of their voices and in the way they moved their heads that made the artist sense some sort of coherence in their experience. Sometimes he felt as though he had caught a glimpse of a silhouette reflected in their eyes. "Gospels" is a work with an open-ended duration. As new material is found, new chapters will be added, slowly completing and complicating the picture. A canon in the making. The project was initiated during a two-month residency at Werkleitz Gesellschaft in Halle, Germany, in the spring of 2006.

Erik Bünger is a Swedish artist, composer, musician, and writer living in Berlin. He works on recontextualizing and remixing media - appropriated from existing music and film - in performances, installations, and web projects. He has a MFA in Electroacoustic Composition from The Royal University College of Music in Stockholm and Universität der Künste in Berlin. He has performed and exhibited all over Europe, and South and North America. In 2003 he created "Let them sing it for you", an interactive web art project, which so far has had over four million users from all over the world and has received two international awards.

"50,000,000 can't be wrong" shows crowds of people expressing longing and despair through their mimics and gestures. Their subject of attraction, their idol, is missing. He is off-frame, hidden to the viewer. All traces referring to him are erased from the footage. What remains is his reflection in their faces, constituting his negative image.

Susanne Bürner was born in 1970 in Ellwangen/Jagst. She studied Media Arts at the Hochschule für Gestaltung in Karlsruhe and received her diploma in 1998. She currently lives and works in Berlin. Her work has been presented on diverse occasions, in a number of places, among them: "finistère", 2005, Galerie Giti Nourbakhsch, Berlin; "Dissolve", 2002, Galerie Giti Nourbakhsch, Berlin; and "Räume", 2001, Akademie Schloss Solitude, Stuttgart. Among her group presentations are: tank.tv, 2007, Tate Modern, London; and "Klinik - eine Pathologie der Gesten", 2006, Théâtre Hebbel, Berlin. She has received numerous prizes and stipends, the most recent include: bourse du programme berlinois en faveur des artistes féminines, in 2006; Artist in Residence at the Villa Arson, Nice, France, in 2006; and la bourse du Kunstfonds de Bonn, Germany, in 2004.

Hohe Kiefer 4 (2005) 5:37 min. C'est le petit matin. Un loup se met en route; il quitte résolument la forêt recouverte de neige, traverse en courant des prairies pour arriver à un lotissement de banlieue. On ne connaît pas la raison de son voyage. Il entre dans une maison, c'est la chambre. Un couple y est allongé et dort, il y a un jouet sur le sol, mais on ne voit aucun enfant. Le loup reste dans la pièce, flaire le jouet et reste un moment couché dans une attitude de garde avant de partir par la porte. La femme se réveille. Hohe Kiefer 4 est l'histoire d'une rencontre qui se déroule à plusieurs niveaux de présence.

1970 né à Ellwangen/Jagst 1993 - 1998 études d'art des médias à la Hochschule für Gestaltung à Karlsruhe 1998 Diplôme Expositions individuelles 2005 finistère, Galerie Giti Nourbakhsch, Berlin Songs from out there, Sassa Trülzsch, Berlin 2002 Dissolve, Galerie Giti Nourbakhsch, Berlin 2001 Galerie Borgmann Nathusius, Cologne (avec Gary Ward) Räume, Akademie Schloss Solitude, Stuttgart 1999 Galerie K & S Berlin (avec Daniel Roth) Photographie, Galerie Karlheinz Meyer, Karlsruhe (avec Barbara Trautmann et Günther Förg) 2000 Trees, Galerie Karlheinz Meyer, Karlsruhe (avec Candida Höfer) Trees, Graduate Studios UCLA Culver City, Los Angeles, USA 1997 Galerie Karlheinz Meyer, Karlsruhe expositions collectives 2005 A Haunting, Castlefield Gallery, Manchester, (DVD, catalogue) Placements, /Galerie/Store/52°31?52??,13°22?55??/, curateur Andrew Cannon Acid Rain, Glassbox, Paris, curateur Vincent Honoré 10. Videonale Bonn, Kunstmuseum, Bonn (DVD, catalogue) Radiodays, CTP, de Appel, Amsterdam 2004 kurzdavordanach, SK-Kulturstiftung Cologne (catalogue) Missing Time, Art Centre Hong Kong, video programm curateur Laurent Grasso Playlist, Palais de Tokyo, Paris (catalogue) Zwischenwelten, Oktokogon, Dresden, curatrice Constanze von Marlin 2002 Geographies #3, Galerie Chantal Crousel, Paris Karl Schmidt-Rottluff-Stipendiaten, Kunsthalle Düsseldorf (catalogue) Night Effect, Carlo?s Depot, Berlin, curated by Eva Svennung (Toasting Agency) Passages, Art3 Valence, (F) (avec Rut Blees Luxemburg et Wendelien van Oldenborgh) Galerie Giti Nourbakhsch, Berlin Akademie Schloss Solitude, Stuttgart 2002 A Need of Realism, Solitude in Schloss Ujazdowski, Warszawa, Poland (catalogue) Golden Week, Kodama Gallery, Osaka, Japan, curated by Eva Svennung (Toasting Agency), (Poster) 2001 Not At Home, Römerstr. 2, Stuttgart, curateurs Gary Ward et Susanne Bürner Circles No. 5, Montana Sacra, ZKM Karlsruhe, curateur Christoph Keller (catalogue) CamoShow, Museum Wiesbaden, curateurs Alexis Vaillant et Léonor Nuridsany (catalogue) Papier, Galerie Borgmann Nathusius, Cologne 2000 nuit de l'at à la galerie municipale de Stuttgart, participtation au kiosk project de Laura Martin presentation video à la Galerie Giti Nourbakhsch, Berlin 1999 Insight Out, Kunstraum Innsbruck, Autriche, Kunsthaus de Hambourg, Kunsthaus Baselland, Suisse, (catalogue) 1998 Galerie Karlheinz Meyer, Karlsruhe Gang Bang, Galerie Margit Haupt, Karlsruhe, curateur Christoph Keller bourses et subventions 2006 Villa Arson, Nice, France, résidence 2006 Los Volcanes, Colima, Mexique, résidence 2004 Kunstfonds Bonn, bourse 2003 Karl Schmidt-Rottluff, bourse 2003 Art 3, résidence attribuée par le land de Bade-Wurtemberg et la Région Rhône-Alpes à Valence, France 2000 - 2001 résidence à l' Akademie Schloss Solitude Stuttgart 1998 - 1999 séjour d'études programme Fine Arts à l' UCLA Los Angeles, Californie, USA (bourse du Studienstiftung des deutschen Volkes) 1997 - 1999 bourse du Studienstiftung des deutschen Volkes, Bonn travail pour des collections publiques Deutsche Bank DG-Bank Staatsgalerie Stuttgart Thyssen-Bornemisza Contemporary Art Foundation ZKM Karksruhe ARTICLES 2005 Vincent Honoré sur Susanne Bürner, Contemporary Magazine #71 2004 Dominic Eichler sur Susanne Bürner, Frieze art Fair Yearbook 04/05 2003 Catherine Francblin, ?geographies #3?, art press #298, p. 84 Marie de Brugerolle, ?passages at art3 (revue)?, artpress, # 292, Juillet-Août, pp. 76-77 Eva Svennung, ?Susanne aime Smoke Gets in Your Eyes?, in: ?Vanishing Points. Susanne Bürner?, art3, Valence & Revolver, Francfort sur le Main Johan Hartle, ?Image Events?, in: ?Vanishing Points. Susanne Bürner?, art3, Valence & Revolver, Francfort sur le Main 2002 Miriam Bers sur Susanne Bürner, tema celeste, issue 93, Sept.-Oct., p. 100 PUBLICATIONS Vanishing Points, Art 3, Valence and Revolver Frankfurt, Jednoczensnie (simultaniously), Zamek Ujazdowski, Varsovie et Revolver, Francfort zusaen collaboration avec Daniel Roth, Gregor Sander et Gary Ward Fog Book, Revolver Francfort Catalogue Schnidt-Rottluff Bourse FILMOGRAPHIE 1999 trees, dv, installation à plusieurs canaux, durée variable 2000 Sprinkler, dv, série vidéo , en boucle, durée variable Nebelfelder, dv, série vidéo, en boucle, durée variable 2001 Fading, dv, installation multicanaux, durée variable 2001/2002 Dissolve, dv, projection vidéo ,en boucle, 18 min. 2003 ohne Titel (fr= sans titre), dv, 5:30 min ohne Titel 2, dv, 3:30 min. 2004 ohne Titel 3, dv, 6:30 min. montauk, dv, loop, 6:30 min 2005 Hohe Kiefer 4, HD, 5:37 min. limbo, DV, en boucle, 0:42 min. finistère, DV, en boucle, 5:40 min

If we considered the new narrative ways that raise the nonlinear edition systems; the manipulation of the image and the sound from the digital data flow; and the speeches that make reference to these concepts and reasons that they sustain in disciplines like video or contemporary film, we would realize that they have all been obviously dramatically modified. In this case we can analyze an example of visual experiment/transition in the absurd action of controlling a mechanical electric car and a discussion inspired in the dialogue between Travis Bickle and Betsy, taken from the movie "Taxi Driver". At the beginning, "Organezizied" recalls a love affair that ended in the void created in strange relationship. The dialogue operates as the true driver of the electric car, and the actions described during the video, like a tool, govern and control all the dynamics as an apparent axis of the work. It treats and manipulates the image in movement extending and amplifying the signs in a primary and linear speech, or else it simply locates these functions before the total cancellation and silence.

Ricardo Caballero lives and works in Mexico City. He studied Psychology for two years and later he studied Plastic Arts. He has also taken composition courses in electro-acoustic music and programming of Max/Msp. He has collaborated in the foundation of experimental groups like Domestica and PORO, and is a pioneer of "Noise" in Mexico, creating the "Reallovedestroys" concept. He held a Fonca scholarship in 2002 and one at the Institute of Culture in 2001. His sonorous improvisations and experimental videos have appeared at the Universities of Mexico, Barcelona, Lisbon, Houston, and Erlangen, and in numerous festivals around the world.

The road trip of a mother and her daughter through strange worlds. The daughter wants to kill herself and the mother will try to talk her out of it.

Sergio Caballero is the co-director and art director of Sónar, festival of music, creativity & technology. His creativity and artistic restlessness has manifested itself across many creative fields, such as the composition of electronic music, visual arts and conceptual art, cinema and has found its platform across the media in the ever controversial and powerful Sónar advertising campaigns.

After Apocalypse Now: Martin Sheen (The Soldier) deconstructs the masculine ideal of the anti-hero, here interpreted by a Filipino woman, and places him/her in the original location of the film Apocalypse Now, reviewing the problems and contradictions present in identity processes of a post-colonial era. During the 70s, Francis Ford Coppola chose Filipino landscapes as an ideal background for his renowned film. These landscapes were used to represent other Asian countries such as Vietnam or Cambodia, and were converted into a scenario that would act as the representation of a Western image of Asiatic exoticism. In the end, The Philippines are transformed in the oriental no-place and their particular identity goes unnoticed. ?My film is not about Vietnam. It is Vietnam?, stated Coppola during the presentation of the film. In the original tape, Martin Sheen (Captain Willard) travels upriver in Pagsanjan through a dangerous journey into the jungle that will take him to a remote place where he has to encounter Colonel Kurtz (Marlon Brando). In this version, the mechanisms of representation act in favour of a different heroic character, a new and solitary Captain Willard, whose gender identity is in dispute with the dominant identities and who inhabits and tries to unveil the ambiguities present in a fake landscape made of western fantasies. If we can convey that cinema is the mirror in which many generations have looked to construct their identitary roles, this trilogy would discuss the unquestioned equivalence between the different models of masculinity and a specific biological body, an equivalence that mainstream cinematic discourses intensify, limiting our possibilities of individual election.

Cabello/Carceller (Helena Cabello and Ana Carceller) currently live and work in Madrid. After graduating in Fine Arts and Art Theory in Madrid, they travelled to Glasgow and then to San Francisco, where they studied at the San Francisco Art Institute. Primarily concerned with issues of gender (de)construction and their intersection with space and cinema as contexts in which patterns of behaviour and the regulation of the gaze are built, Cabello/Carceller have been working together as a team on a regular basis since 1993. They work in video, photography, installation and drawing, and have published essays and reviews about topics ranging from the place of feminist discourses in contemporary art or the artistic collaboration and the role of the artist as critic. Their work has been recently included in Nuevas Historias. New View of Spanish Photography, at Kulturhuset (Stockholm), The Screen Eye or The New Image, at Casino Luxembourg (Luxemburg), Global Feminisms at the Brooklyn Museum, New York, or Everyday Utopias at La Centrale Electrique, Brussels. They have also participated in different group shows such as: Cine y casi cine at MNCARS, (Madrid, 2007), Cooling Out at the Glucksman Gallery in Cork (Ireland, 2006) or Don?t Call it Performance, Museo del Barrio in New York (2004). Among their solo shows: This is Not Vietnam, at Suffix Gallery, Sevilla, Ejercicios de poder, at Elba Benítez gallery, Madrid; No es él, Joan Prats gallery, Barcelona or En construcción (cap_2), Centre d?art la Panera, Lleida.

?Exercises of Power. Cases: Liam Neeson (Schindler?s List), Fred MacMurray, John Lemmon (The Apartment)? ?Exercises of Power? explores the dynamics of power and subordination that lie behind the gender structures in capitalism. Shot in an abandoned tobacco factory, the project analyses the display and mise en scene of masculine behaviour in a working environment by recreating some significant film scenes played by Liam Neeson (?Schindler?s List?), Fred MacMurray and John Lemmon (?The Apartment?), and reinterpreted in this occasion by two amateur actresses. The result is ambiguous, dealing with issues of sexual organization in capitalist societies and at the same time suggesting an underlying attraction generated by power strategies and offering new readings of beauty, far from stereotypes of femininity. This work is part of a wider research that deals with contradictory aspects of masculinity contributing to deconstruct Hollywood?s ideal of beauty, a model that has seduced and subjugated many other societies. The trilogy composed by ?Casting: James Dean (Rebel Without a Cause)?, ?Exercises of Power?, and ?After Apocalypse Now: Martin Sheen (The Soldier)? deepens in these ideas using some emblematic Hollywood films as their point of departure.

CABELLO/CARCELLER Helena Cabello and Ana Carceller started to work in collaboration in the beginning of the nineties. Since then, they have developed a multidisciplinary body of work that uses different media to question the hegemonic means of representation, and suggest critical alternatives to them. An important part of their work is related to contradictory aspects in the construction of masculinity and to the deconstruction of Hollywood prevalent models of beauty which have seduced so many societies. They have participated recently in ?Global Feminisms? at the Brooklyn Museum, NY, ?The Screen Eye or The New Image? at Casino Luxembourg, ?Cooling Out? at the Lewis Glucksman Gallery (Cork, Ireland) and ?Utopies Quotidiennes? at La Centrale Électrique, Brussels, among others.

A scaffold and a wooden stage were designed by Cabello/Carceller and built in the cold store of the old slaughterhouse at Matadero Art Centre. A graffiti, ?Ask and tell?, dominated the platform where something had happened: the shooting of a musical short film where the leading characters were prisoner women from one of Madrid most important Penitentiaries. Off Escena: If I Were... suggests a reflection and collective action that works around the poetics of inclusion and exclusion in current neoliberal capitalist societies. Freedom, gender, economy and social violence are visually present on this video that ends with a version of the song If I Were a Rich Man, sung in the film Fiddler on the Roof by the character of patriarch Teyve. If I were.., is an incomplete sentence that, when recreated with new lyrics an music by four prisoner women, invites to reflect: would they be in prison if they had been men and rich? A critical approach to the current situations of domination that avoids the original film pro-system assimilationism, and which is now related to the experience of alternative lives and to the knowledge that we should not abandon the dream of achieving a more egalitarian world.

Cabello/Carceller (Helena Cabello and Ana Carceller) currently live and work in Madrid. Primarily concerned with issues of gender (de)construction and their intersection with space and cinema as contexts in which patterns of behaviour and the regulation of the gaze are built, Cabello/Carceller have been working together as a team on a regular basis since 1993. During the last years, their work has been included in group exhibitions such as Reality and Fiction in MMOMA in Moscow, 2011; Handlung: On Producing Possibilities, Bucharest Biennale 4 in Romania, 2010, Nuevas Historias. New View of Spanish Photography, at Kulturhuset (Stockholm, 2008), Stenersen Museum (Oslo, 2009) and Kuntsi Museum of Modern Art (Vaasa, Finland, 2010), Cooling Out at the Lewis Glucksman Gallery in Cork (Ireland, 2008), The Screen Eye or The New Image, at Casino Luxembourg (Luxemburg, 2007) or Global Feminisms at the Brooklyn Museum, New York, 2007. Among their solo shows: Off Escena: Si yo fuera? in Abierto x Obras, Matadero Madrid (2011) or Archivo: Drag Modelos at Joan Prats gallery, Barcelona and CAAM, Las Palmas de Gran Canaria (2011); Suite Rivolta, at Elba Benítez gallery (2011), A/O (Caso Céspedes), Sevilla, 2010.